Bowman works mostly as a freelance journalist. He co-presents a radio show, The Rude Awakening, on Dublin’s FM104 with Scott Williams, George Hellis and Margaret Callanan for two years between 1993 and 1994 before joining the Sunday Independent newspaper as a columnist. He later presents television programmes on RTÉ, such as the quiz show Dodge the Question.
Bowman dies in a fall at his home on Fitzgerald Street in Harold’s Cross, Dublin, on March 6, 2000. He is found lying in the kitchen near the foot of the stairs. His death is believed to be the result of a fall down the stairs or from a stool, which is found nearby.
TaoiseachBertie Ahern says that he is deeply saddened on learning the news of Bowman’s death. His thoughts and prayers he says are with his family at this very sad time.
The leader of the Labour Party, Ruairí QuinnTD, expresses his shock and sadness on hearing of the death. He says that Bowman was without doubt one of the bright lights of Irish journalism. He extends his deepest sympathies to Bowman’s son, Saul, and to his parents John and Eimer.
The Fine Gael leader, John Bruton, says that few people he knew brought a smile to the face of anyone they met more readily. He says that his infectious good humour and iconoclastic attitude to life conveyed itself to all with whom he came into contact. He adds that Bowman will be missed for many years to come.
The editor of the Sunday Independent, Aengus Fanning, says that Bowman was one of the most brilliant journalists of his generation.
Bowman is survived by his parents, his sister Emma, his brothers Abie and Daniel and his only son Saul Philbin Bowman.
King is the son of Henry King, businessman, of Rathdrum, and Susan King (née Crowe). He is educated at the Church of Ireland Ranelagh School, Athlone, and at Mountjoy School, Clontarf, Dublin (1936–39). Subsequently he joins the printing firm of W. & S. McGowan in Dundalk, where he goes on to become a director. During the 1940s his interest in amateur drama leads him to take classes at the Gaiety School of Acting in Dublin, where his fellow students include Milo O’Shea and Eamonn Andrews. Around this time, he is also involved in An Óige (the Irish Youth Hostel Association), in which he serves as honorary national secretary and honorary treasurer. This involvement leads him to travel extensively from the late 1940s around Europe, where he visits many major art museums and galleries.
King begins to acquire works of art, by both European and Irish artists, and by the mid-1950s he has amassed one of the most important collections of modern art in Ireland. Around 1954 he himself begins to paint, under the guidance of Barbara Warren and the English artist Neville Johnson. In his early work he focuses on urban scenes, often based on the area of Ringsend, Dublin, where he uses subdued tones to produce poetic images of a sombre mood. Even here his interest in the formal qualities of painting – such as the flatness of the picture surface and the juxtaposition of areas of colour on it, which becomes a defining feature of his art – is evident. In 1964 he leaves his successful business career behind in order to devote himself entirely to art, a bold move considering the limited audience for modern art that exists in Ireland at the time. In his own words he recalls how “Painting was what I wanted to do, I realised I didn’t need a car. I could do without an awful lot of things.” (Sunday Independent, November 7, 1982)
By this time, King is working in a fully abstract style. However, he still draws his inspiration from the external world, particularly the milieu of the circus. A painting such as Trapeze (1976; Allied Irish Bank collection) shows how he responds to acrobatic performance, not in any literal or figurative sense, but to the tensions and balances inherent within it. The overall effect is to convey to the viewer the essence of anticipation of the performance. Indeed, his works can create an almost physical sense of involvement on the part of the viewer. This is especially true of his Berlin Suite, a series of screen-prints produced as a result of a visit to East Berlin and published by Editions Alecto of London (1970). He is also inspired to produce a number of paintings on this theme of the claustrophobia of the divided city. Ultimately, he aspires to create works which, with their economy and restraint, achieve a meticulously balanced harmony. This concern leads him, in such works as the Baggot Street Series, to move away from even the most veiled figurative references, evidence for the fact that he constantly strives to further his artistic explorations.
King often works seven days a week. This quiet determination contributes in no small part to the international standing he soon achieves, as does his prolific record as an exhibitor. Writing a foreword to an exhibition of his work at Kilkenny in 1975, the critic William Packer finds that King’s art “confounds the expectations we might have of Irish art, for it is far from local in ambition, accomplishment, and seriousness.” He mounts over twenty-five one-man exhibitions and contributes to a large number of group shows in Ireland and abroad. A significant proportion of his output is to be found in galleries in Europe and the United States, including the Museum of Modern Art, New York, and the Tate Gallery, London. He is also represented in the major public and corporate collections in Ireland, such as the Irish Museum of Modern Art, Ulster Museum, Trinity College Dublin (TCD), Crawford Municipal Gallery, Dublin City Gallery The Hugh Lane, Arts Council, Aer Lingus, Bank of Ireland, Allied Irish Bank, and ESB. In fact, King, with his hard-edge abstract style, is one of the very few artists working in Ireland at the time whose work is comparable to that of the major (principally American) international exponents of abstraction. The term “hard-edge,” applied to King’s style, may however belie the subtlety he could achieve in terms of his handling of colour and texture. This is particularly true of his works in the media of pastel and tapestry, while his last paintings show a tendency towards more expressive brushwork and a more complex approach to colour.
King enjoys a happy relationship with Oliver Dowling from 1960 to the time of his death, at Dún Laoghaire, County Dublin, on April 7, 1986, having suffered a heart attack just three days before an exhibition of his work is due to open in Dublin at the Oliver Dowling Gallery. His legacy is not alone artistic: he also makes a significant contribution to the promotion of modern art in Ireland in his capacity as a member of the organising committee for the Rosc exhibition since its inception in the 1960s, where his wide knowledge of international art is much respected. A member of Aosdána, he twice serves as commissioner for the Department of Foreign Affairs cultural committee. He is also generous in his encouragement of young artists, whose work he regularly adds to his own collection.
(From: “King, Cecil” by Rebecca Minch, Dictionary of Irish Biography, http://www.dib.ie, May 2012 | Pictured: Abstract, Oil on Canvas by Cecil King)
Aengus Fanning, Irish journalist and editor of the Sunday Independent from 1984 until his death, dies on January 17, 2012, following a battle with lung cancer. He is also a former editor of farming for the Irish Independent. He is listed at number 31 on a list of “most influential people” in Irish society compiled for Village magazine.
Fanning is born on April 22, 1944, in the family home at Cloonbeg Terrace, Tralee, County Kerry, the fourth child among five sons and one daughter of Arnold (‘Paddy’) Fanning, a teacher, and his wife Clara (née Connell). Originally from Rostrevor, County Down, his mother is born a Presbyterian and converts to Catholicism to marry his father, though neither is religious. His father is a noted organiser of local theatrical productions, having written a one-act play, Vigil, which is staged in the Abbey Theatre in 1929.
Fanning has a keen interest in sport, having represented Kerry in Gaelic football in his youth. He is also passionate about cricket. He also plays the clarinet, and is a jazz fan. He is a graduate of University College Cork (UCC).
In May 1964 Fanning is hired as a reporter by his uncle, James Fanning, the owner of the Midland Tribune in Birr, County Offaly, and pursues an unglamorous beat covering court sittings, local authority meetings and GAA matches. Needing a better salary to start a family, he joins Independent Newspapers (IN) in Dublin as a general reporter in May 1969, and soon after marries Mary O’Brien from Streamstown, County Offaly. They settle in Dún Laoghaire, County Dublin, and have three sons.
Fanning covers the Northern Irelandtroubles during 1969–70, before reporting increasingly on farming matters, becoming the IN group’s agricultural correspondent in 1973, as Ireland’s European Economic Community (EEC) accession sparks a farming boom. He is made head of news analysis at the Irish Independent in 1982, improving the op-ed page and using it to advocate more market-driven economic policies.
Fanning is appointed editor of the mid-to-upmarket Sunday Independent in 1984 from. Under his leadership, the newspaper adopts what Irish newspaper historian John Horgan calls a “new emphasis on pungent opinion columns, gossip and fashion” which results in the paper overtaking its main rival, The Sunday Press. For a time, his deputy editor is journalist Anne Harris.
In a 1993 interview with Ivor Kenny in the book Talking to Ourselves, Fanning describes himself as a classical liberal who is opposed to both Ulster loyalist and Provisional Irish Republican Army terrorism. He also expresses a strong advocacy of the free market, arguing that the goal of a good newspaper is to be as commercially successful as possible:
“If three or four papers out of 15 are successful and the others are not, they might say they’re not driven by the market, they have some higher vocation: to serve the public interest or some pompous stuff like that. That’s how they feel good about themselves. Fair enough, if that’s how they want to explain the world. It’s a grand excuse for relative failure… I think we live or die by the market, it will always win through.”
Fanning recruits a number of noted writers to contribute to the newspaper, including historians Conor Cruise O’Brien and Ronan Fanning, journalists Shane Ross and Gene Kerrigan, poet Anthony Cronin and novelist Colm Tóibín. However, his editorship is not without controversy. The columns published by Eamon Dunphy and Terry Keane draw criticism. Michael Foley notes some Irish commentators criticised Fanning’s Sunday Independent, claiming the newspaper was publishing “a mix of sleaze and prurience.”
Fanning also defends the controversial Mary Ellen Synon, who calls the Paralympics games “perverse.” One of the more bizarre incidents occurs in 2001 when he is involved in a fisticuffs with a colleague at the newspaper – operations editor Campbell Spray.
Diagnosed with lung cancer in April 2011, Fanning spends his last months undergoing treatment in St. Vincent’s University Hospital, Dublin, dying there on January 17, 2012, at the age of 69. His remains are cremated at Mount Jerome Crematorium.
Anne Harris, Fanning’s second wife, succeeds him as editor and lasts three years. As well as pioneering changes in the domestic print media’s role, Fanning’s Sunday Independent led Irish society’s turn towards free market hedonism, catching the public mood better than its more conventionally liberal rivals by rendering this cultural transformation in an exuberant, somewhat parodied form, and without regard for lingering post-Catholic inhibitions.
O’Kelly is born James Kelly in Mobhill, Loughrea, County Galway, youngest of seven (or possibly eight) children of Michael Kelly, corn merchant, and his wife, Catherine Fitzgerald. His date of birth is uncertain. Some commentators believe he is the James Kelly whose birth was registered on November 16, 1875, but relatives claim this was a sibling and namesake who died prematurely. His death certificate implies he was born in 1878, and family members maintained he was born in 1880.
Loughrea is at the centre of the bitterly-fought plan of campaign agitation on the Clanricarde estate from the late 1880s. Many tenants in the town and surrounding rural districts are evicted for non-payment of rent, and Lord Clanricarde resists reinstatement until the estate is purchased by special legislation shortly before World War I. According to one source, the O’Kellys are themselves evicted during the Plan of Campaign, though they seem to retain a degree of financial stability. A widespread perception that nationalist politicians had exploited the evicted tenants contributes to the relative strength of Parnellism in the area, and the early appearance of Sinn Féin. This background inspires such works as O’Kelly’s 1917 play, The Parnellite.
While growing up in Loughrea, O’Kelly is profoundly influenced by contact with older relatives and country folk from whom he learns some Irish and the folklore/storytelling tradition that shapes many of his stories. The example of his mother and friendship with the local Carmelite fathers, whom he serves as an altar boy, gives him a strong commitment to Catholicism. This coexists in his work with an Ibsenite-Parnellite insistence on individual defiance of conformity, and a gentle exaltation of the sensitive dreamer isolated from the life around him. The mixture is sometimes uneasy. His observations on domestic violence, the sexual exploitation of servant girls by hypocritically pious employers, and prejudice against children born outside marriage or raised in the workhouse are unobtrusive but biting. His play, The Bribe (1913), gives a devastating depiction of the social and economic pressures which induce a small-town shopkeeper and poor law guardian to accept a bribe to appoint an underqualified dispensary doctor, with disastrous results. The corrupt and snobbish doctor is called Power O’Connor, an unsubtle hit at the nationalist MP, T. P. O’Connor. This element of social observation distinguishes him from the more symbolist city-born Daniel Corkery, to whom he is often compared. Much of his writing is recognisably set in Loughrea.
O’Kelly begins working as a journalist on local papers, including the Midland Tribune, the Tuam News, and the Connacht Leader. He becomes editor of The Southern Star, based in Skibbereen, County Cork, in 1903, and is said to be the youngest newspaper editor in Ireland at the time. He moves to Naas, County Kildare, in 1906, as editor of the Leinster Leader. Here he lives in a house by the canal, which provides the inspiration for his linked series of short stories, The Golden Barque, along with his father, a nephew, and his brother Michael. Already a contributor to The United Irishman published by Arthur Griffith, and later its successor, Sinn Féin, he is active in the Naas Sinn Féin club and makes regular weekend visits to Dublin, where Griffith introduces him to Dublin literary circles. Here his closest friends are James Stephens, whose influence is visible in the more whimsical and fantastic elements of O’Kelly’s work, and Seumas O’Sullivan, who recalls O’Kelly as a man of remarkable gentleness and integrity.
O’Kelly’s journalistic career is accompanied by his development as a writer, publishing stories in a variety of outlets, including the Irish Rosary and the Irish Packet. From 1908 he has several plays produced by the Theatre of Ireland, a nationalist-oriented rival to the Abbey Theatre. Lustre (1913), written jointly with Casimir Markievicz, later becomes the basis for a Soviet film.
Around 1911, O’Kelly suffers a severe attack of rheumatic fever, which leaves him with a chronic heart condition and a strong sense of mortality. He continues to write extensively and with increasing skill. He becomes editor of Dublin’s The Saturday Evening Post in 1912 and moves to Dublin, where he lives in Drumcondra. At this time he is an occasional contributor to The Manchester Guardian, turning down a permanent job on that paper. He leaves the Post in 1915 because of continuing ill-health and is offered the editorship of The Sunday Freeman but has to retire after two weeks. He then returns to Naas. At this time his play Driftwood, commissioned by Annie Horniman, is produced in Manchester and London.
When O’Kelly’s brother is interned after the Easter Rising, he resumes the editorship of the Leinster Leader until his brother’s release at Christmas 1916. He also contributes topical articles to the Sunday Independent. His literary reputation continues to increase with a short story collection, Waysiders (1917), and his best-regarded full-length novel, The Lady of Deerpark (1917), a melancholy story about the last heiress of a declining Catholic gentry family. Another novel, Wet Clay (1922), is published posthumously and is the story of the tense relationship between a “returned Yank” and his small-farmer cousins, which shows deeply unresolved ambivalence about the nature and prospects of Irish rural society after the Land War.
When Griffith and many other Sinn Féin activists are arrested and imprisoned in May 1918, O’Kelly returns to Dublin to edit the Sinn Féin paper Nationality. During the days after the Armistice of November 11, 1918, a crowd of soldiers and women whose husbands are serving in the British Army attack the paper’s premises, which are also the headquarters of Sinn Féin. As a result of these attacks O’Kelly suffers a cerebral haemorrhage which leads to his death on November 14, 1918.
O’Kelly’s funeral turns into a major political demonstration and his status as a nationalist martyr leads to the posthumous publication of many of his works. These include the novella, The Weaver’s Grave (1920), generally regarded as his masterpiece. It has been reprinted regularly and translated into several languages. A 1961 Radio Éireann adaptation by Micheal Ó hAodha wins the Prix Italia. The twenty-fifth and fiftieth anniversaries of his death see various commemorations in his honour and a short-lived Seumas O’Kelly Society is founded in 1968. O’Kelly never marries but is said to have cherished a hopeless passion for the actress and nationalist activist, Máire Níc Shiubhlaigh, for whom he writes the play The Shuiler’s Child (1909).
(From: “O’Kelly, Seumas” by Patrick Maume, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Larkin is born to Irish parents in Liverpool, England, on January 21, 1876. He and his family later move to a small cottage in Burren, County Down. Growing up in poverty, he receives little formal education and begins working in a variety of jobs while still a child.
In 1905, Larkin is one of the few foremen to take part in a strike on the Liverpool docks. He is elected to the strike committee, and although he loses his foreman’s job as a result, his performance so impresses the National Union of Dock Labourers (NUDL) that he is appointed a temporary organiser.
Larkin moves to Belfast in 1907 to organise the city’s dock workers for the NUDL. He succeeds in unionising the workforce, and as employers refuse to meet the wage demands, he calls the dockers out on strike in June. Carters and coal men soon join in, the latter settling their dispute after a month.
In 1908, Larkin moves south and organises workers in Dublin, Cork, and Waterford, with considerable success. His involvement, against union instructions, in a dispute in Dublin results in his expulsion from the NUDL. The union later prosecutes him for diverting union funds to give strike pay to Cork workers engaged in an unofficial dispute. After trial and conviction for embezzlement in 1910, he is sentenced to prison for a year. This is widely regarded as unjust, and the Lord Lieutenant of Ireland, Lord Aberdeen, pardons him after he has served three months in prison.
After his expulsion from the NUDL, Larkin founds the Irish Transport and General Workers’ Union (ITGWU) at the end of December 1908. The organisation exists today as the Services Industrial Professional & Technical Union (SIPTU). In early 1909, Larkin moves to Dublin, which becomes the main base of the ITGWU and the focus of all his future union activity in Ireland.
In June 1911, Larkin establishes a newspaper, The Irish Worker and People’s Advocate, as a pro-labour alternative to the capitalist-owned press. In 1912, in partnership with James Connolly, Larkin helps form the Irish Labour Party.
In early 1913, Larkin achieves some successes in industrial disputes in Dublin. Two major employers, Guinness and the Dublin United Tramway Company, are the main targets of Larkin’s organising ambitions. The chairman of the Dublin United Tramway Company, industrialist and newspaper proprietor William Martin Murphy, is determined not to allow the ITGWU to unionise his workforce. On August 15, he dismisses 40 workers he suspects of ITGWU membership, followed by another 300 over the next week. On August 26, 1913 the tramway workers officially go on strike.
The resulting industrial dispute is the most severe in Ireland’s history. Employers in Dublin engage in a sympathetic lockout of their workers when the latter refuses to sign the pledge, employing blackleg labour from Britain and from elsewhere in Ireland. Guinness, the largest employer in Dublin, refuses the employers’ call to lock out its workers but it sacks 15 workers who struck in sympathy.
For seven months the lockout affects tens of thousands of Dublin workers and employers, with Larkin portrayed as the villain by Murphy’s three main newspapers, the Irish Independent, the Sunday Independent, and the Evening Herald, and by other bourgeois publications in Ireland. The lockout eventually concludes in early 1914 when calls by James Connolly and Larkin for a sympathetic strike in Britain are rejected by the British Trades Union Congress (TUC). Larkin’s attacks on the TUC leadership for this stance also lead to the cessation of financial aid to the ITGWU.
Some months after the lockout ends, Larkin leaves for the United States. He intends to recuperate from the strain of the lockout and raise funds for the union. Once there he becomes a member of the Socialist Party of America, and is involved in the Industrial Workers of the World union (the Wobblies). He becomes an enthusiastic supporter of the Soviet Union and is expelled from the Socialist Party of America in 1919 along with numerous other sympathisers of the Bolsheviks during the Red Scare of that year.
Upon his return to Ireland in April 1923, Larkin receives a hero’s welcome, and immediately sets about touring the country meeting trade union members and appealing for an end to the Irish Civil War. In September 1923, Larkin forms the Irish Worker League (IWL), which is soon afterwards recognised by the Communist International as the Irish section of the world communist movement.
James Larkin dies in his sleep on January 30, 1947 in the Meath Hospital in Dublin. Fr. Aloysius Travers, OFM, who had administered last rites to James Connolly in 1916, also administers extreme unction to Larkin. His funeral mass is celebrated by the Catholic Archbishop of Dublin, John Charles McQuaid, who had visited him in hospital before he died, and thousands line the streets of the city as the hearse passes through on the way to Glasnevin Cemetery.
Today a statue of “Big Jim” stands on O’Connell Street in Dublin, completed by Oisín Kelly and unveiled in 1979.
The Republic of Ireland Act 1948 is an Act of the Oireachtas which declares that Ireland may be officially described as the Republic of Ireland, and vests in the President of Ireland the power to exercise the executive authority of the state in its external relations, on the advice of the Government of Ireland. The Act is signed into law on December 21, 1948 and comes into force on April 18, 1949, Easter Monday, the 33rd anniversary of the beginning of the Easter Rising.
The Act repeals the External Relations Act 1936. Under that Act, King George VI acts as the Irish head of state in international relations by accredited ambassadors and on the State’s behalf accepts credentials appointing foreign ambassadors to the State. The Republic of Ireland Act removes this last remaining practical role from the King and vests it instead in the President of Ireland, making the then President of Ireland, Seán T. O’Kelly, unambiguously the Irish head of state.
In 1945, when asked if he plans to declare a Republic, the then TaoiseachÉamon de Valera replies, “we are a republic.” He also insists that Ireland has no king, but simply uses an external king as an organ in international affairs. However, that is not the view of constitutional lawyers including de Valera’s Attorneys General, whose disagreement with de Valera’s interpretation only come to light when the state papers from the 1930s and 1940s are released to historians. Nor is it the view in the international arena, who believe that Ireland does have a king, George VI, who had been proclaimed King of Ireland in December 1936, and to whom they accredit ambassadors to Ireland. King George, in turn, as “King of Ireland” accredits all Irish diplomats. All treaties signed by the Irish Taoiseach or Minister for External Affairs are signed in the name of King George.
In October 1947, de Valera asks his Attorney General, Cearbhall Ó Dálaigh, to draft a bill to repeal the External Relations Act. By 1948 a draft of the bill includes a reference to the state as being a republic. In the end, the draft bill is never submitted to the Oireachtas for approval.
The bill to declare Ireland a republic is introduced in 1948 by the new Taoiseach, John A. Costello of the Fine Gael party. Costello makes the announcement that the bill is to be introduced when he is in Ottawa, during an official visit to Canada. David McCullagh suggests that it is a spur of the moment reaction to offence caused by the Governor General of Canada, Lord Alexander, who is of Northern Irish descent, who allegedly places loyalist symbols before an affronted Costello at a state dinner. What is certain is that an agreement that there be separate toasts for the King and for the President of Ireland is broken. The Irish position is that a toast to the King, instead of representing both countries, would not include Ireland. Only a toast to the King is proposed, to the fury of the Irish delegation. Shortly afterwards Costello announces the plan to declare the republic.
However, according to all but one of the ministers in Costello’s cabinet, the decision to declare a republic had already been made before Costello’s Canadian visit. Costello’s revelation of the decision is because the Sunday Independent had discovered the fact and was about to “break” the story as an exclusive. The evidence of what really happens remains ambiguous. There is no record of a prior decision to declare a republic before Costello’s Canadian trip.
At any rate, the Act is enacted with all parties voting for it. De Valera does suggest that it would have been better to reserve the declaration of the republic until Irish unity had been achieved, a comment hard to reconcile with his 1945 claim that the Irish state was already a republic. Speaking in Seanad Éireann Costello tells senators that as a matter of law, the King is indeed “King of Ireland” and Irish head of state and the President of Ireland is in effect no more than first citizen and a local notable, until the new law comes into force.
The United Kingdom responds to the Republic of Ireland Act by enacting the Ireland Act 1949. This Act formally asserts that the Irish state had, when the Republic of Ireland Act came into force, ceased “to be part of His Majesty’s dominions” and accordingly is no longer within the Commonwealth. Nonetheless the United Kingdom statute provides that Irish citizens will not be treated as aliens under British nationality law. This, in effect, grants them a status similar to the citizens of Commonwealth countries.
Matt Cooper resigns as editor of the Sunday Tribune on November 5, 2002 to replace Eamon Dunphy as presenter of The Last Word on Today FM. He edits his final issue of the Sunday Tribune in early November before joining The Last Word on January 6, 2003.
Today FM offers the job to Cooper a week earlier but he delays his acceptance in the interim. Dunphy describes Cooper as “a great choice and a heavyweight journalist.”
“I have enjoyed my time at the Sunday Tribune enormously and this is the only job that I would have left the paper for,” Cooper says.
When Cooper joins the Sunday Tribune in 1996 he becomes the youngest national newspaper editor in the country. Under his guidance, the paper’s circulation rises from 76,000 to 90,000 in 2001. However, sales fall to 85,000 copies in 2002.
Cooper is noted for his prolific writing output as well as regular stints as a stand-in presenter on The Last Word. He wins National Journalist of the Year in 1993 and in 2001. The Sunday Tribune says he will continue as a writer with the newspaper.
“We are sorry to see Matt leave. He made a significant contribution to the newspaper during his six years in the editor’s chair,” managing director Jim Farrelly says.
Speculation grows about who will succeed Cooper. “The appointment process will begin immediately and the job will be advertised. It will be similar to the selection process for The Irish Times editor’s job,” said Tribune spokesperson Martin Larkin.
Candidates interested in the job include Irish Independent business editor Richard Curran as well as in-house candidates Martin Wall, Diarmuid Doyle, Jim Farrelly, and Paddy Murray, who takes over as acting editor.
Much depends on the attitude of Independent News & Media, which has a 29.9% stake in Tribune Publications. It may be unwilling to grant a new editor significant funds since this would threaten the market of its flagship newspaper, the Sunday Independent. When asked about this in an interview in 2001, Farrelly says, “To grow your company, you must be financially independent.”
Acting editor Paddy Murray ultimately succeeds Cooper as full-time editor.
(From: “Last Word as Cooper quits Tribune” by Michael Brennan, Irish Examiner, November 6, 2002)
On the foundation of the Sunday Tribune in 1980, Kennedy joins it as the paper’s political correspondent. The paper’s publisher, John Mulcahy, had become familiar with her when she had contributed to his journal Hibernia. When the Tribune briefly ceases production, she moves to the Sunday Press.
In 1982, Kennedy’s telephone, along with those of two other journalists, is tapped by former Minister for JusticeSeán Doherty. Early in 1987, Kennedy successfully sues the incumbent Charles Haughey-led Fianna Fáil government for illegally tapping her phone. The revelation in 1992 that Haughey had ordered the phone taps leads to his resignation as Taoiseach.
Kennedy stands in the 1987 Irish general election as a candidate for the newly formed Progressive Democrats party in Dún Laoghaire. She comes third in the poll, winning 9.4% of the first-preference vote. She is one of fourteen Progressive Democrats TDs elected to Dáil Éireann in that election — a feat the party never achieves again. She is appointed the party’s spokesperson for foreign affairs. She stands again in the 1989 Irish general election and wins 9% of the first-preference vote but fails to retain her seat.
Following her election defeat, Kennedy returns to The Irish Times, then edited by Conor Brady, whom she had worked with at the Tribune when he was the editor. She avoids party-political journalism for several years, but she returns to covering politics in the early 1990s, and becomes The Irish Times‘ political editor in 1999. She becomes the newspaper’s first female editor upon the departure of Conor Brady in October 2002. One of her rivals for the editor’s chair is the paper’s high-profile columnist, Fintan O’Toole.
Kennedy is paid more than the editor of Britain’s top non-tabloid newspaper The Daily Telegraph, which has a circulation of about nine times that of The Irish Times. Later columnist Fintan O’Toole tells the Sunday Independent, “We as a paper are not shy of preaching about corporate pay and fat cats but with this there is a sense of excess. Some of the sums mentioned are disturbing. This is not an attack on Ms. Kennedy, it is an attack on the executive level of pay. There is double-standard of seeking more job cuts while paying these vast salaries.”
In September 2006, Kennedy approves the publication of an article in The Irish Times giving confidential details of investigations being made into payments purported to have been made in 1993 to Taoiseach Bertie Ahern. She refuses, upon request of the investigating Mahon Tribunal, to provide details of the source of the printed information. She responds that the documents have since been destroyed. Her refusal causes the Tribunal to seek High Court orders compelling her to provide details of the source. On October 23, 2007, the High Court grants the orders compelling her to go before the Tribunal and answer all questions. In its judgment, the High Court, criticising her decision to destroy the documents, says it is an “astounding and flagrant disregard of the rule of law.” In 2009, however, the Supreme Court of Ireland overturns this ruling, holding that the High Court had not struck the correct balance between the journalists’ right to protect their source and the tribunal’s right to confidentiality.
Kennedy announces on March 12, 2011 her intention to retire from The Irish Times by September, after a nine-year term as editor. She actually retires in June, and is succeeded by news editor, Kevin O’Sullivan, who succeeds her as editor on June 23, 2011.
In August 2012, Kennedy is appointed Adjunct Professor of Journalism at the University of Limerick. She has been awarded five honorary doctorates from Irish universities.
O’Rourke makes his debut on the inter-county scene when he is picked for the Meath minor team. He later joins the under-21 side but enjoys little success in these grades. He makes his senior debut during the 1975-1976 league. Over the course of the next twenty years he is a regular member of the starting fifteen and wins back-to-back All-Ireland medals in 1987 and 1988. He also wins five Leinster Senior Football Championship medals, three National Football League titles and is named Texaco Footballer of the Year in 1991. He plays his last game for Meath in July 1995.
In retirement from playing O’Rourke combines his teaching career with a new position as a sports broadcaster. His media career begins with RTÉ where he has worked as a studio analyst with the flagship programme The Sunday Game for over twenty-five years. He also writes a weekly column for the Sunday Independent.
After she graduates, her father employs her at his company but, following his death three years later, she changes professions and starts a public relations firm in 1983, which she runs for seven years. In 1983–84, she serves as secretary to the Fianna Fáil group at the New Ireland Forum. She serves as Charles Haughey‘s personal assistant, and becomes a family friend, taking holidays with his children. In 1987 she serves as election agent and party treasurer in Dublin North for Seán Haughey.
In 1990, she changes careers again, switching to journalism as a reporter with The Sunday Business Post and Sunday Tribune, working under editor Damien Kiberd. Craving first-hand information, she pursues a story directly to the source with little regard for her personal safety, to engage those she deems central to a story. This allows her to build close relationships with both the legitimate authorities, such as the Garda Síochána, and the criminals, with both sides respecting her diligence by providing highly detailed information. She also reports on Irish Republican Army activities in the Republic of Ireland.
From 1994 onwards, she begins to write about criminals for the Sunday Independent. Using her accountancy knowledge to trace the proceeds of illegal activity, she uses street names or pseudonyms for organized crime figures to avoid Irish libel laws.
When she begins to cover drug dealers, and gains information from convicted drugs criminal John Traynor, she receives numerous death threats. The first violence against her occurs in October 1994, when two shots are fired into her home after her story on murdered crime kingpin Martin Cahill is published. Guerin dismisses the “warning.” The day after writing an article on Gerry “The Monk” Hutch, on January 30, 1995, she answers her doorbell to a man pointing a revolver at her head. The gunman misses and shoots her in the leg. Regardless, she vows to continue her investigations.
On September 13, 1995, convicted criminal John Gilligan, Traynor’s boss, attacks her when she confronts him about his lavish lifestyle with no source of income. He later calls her at home and threatens to kidnap and rape her son, and kill her if she writes anything about him.
On the evening of June 25, 1996, Gilligan drug gang members Charles Bowden, Brian Meehan, Kieran ‘Muscles’ Concannon, Peter Mitchell and Paul Ward meet at their distribution premises on the Greenmount Industrial Estate. The following day, while driving her red Opel Calibra, Guerin stops at a red traffic light on the Naas Dual Carriageway near Newlands Cross, on the outskirts of Dublin, unaware she is being followed. She is shot six times, fatally, by one of two men sitting on a motorcycle.
About an hour after Guerin is murdered, a meeting takes place in Moore Street, Dublin, between Bowden, Meehan, and Mitchell. Bowden later denies under oath in court that the purpose of the meeting is the disposal of the weapon but rather that it was an excuse to appear in a public setting to place them away from the incident.
At the time of her murder, Traynor is seeking a High Court order against Guerin to prevent her from publishing a book about his involvement in organised crime. Guerin is killed two days before she is due to speak at a Freedom Forum conference in London.
Guerin’s funeral is attended by Ireland’s TaoiseachJohn Bruton, and the head of the armed forces. It is covered live by Raidió Teilifís Éireann. On July 4, labour unions across Ireland call for a moment of silence in her memory, which is duly observed by people around the country. Guerin is buried in Dardistown Cemetery, County Dublin.
seamus dubhghaill 